A bit of an overview post of the past couple of months. It’s been busy.
– A Girl is a Half-formed Thing won a Fringe First and the Amnesty International Freedom of Expression Award 2015 during its run at the Traverse this August. Aoife Duffin also won the Award for Acting Excellence from The Stage. The London run at the Young Vic for early 2016 has been announced.
– I designed for performances in more dusty disused spaces: a doll factory in Crolly, Co. Donegal, and an unused shop unit in Smithfield, Dublin. More to follow on these.
– I’ve been selected to take part in the Theatre Forum/Dublin Theatre Festival Next Stage programme later this month – aka theatre bootcamp.
– I was invited to take part in a lovely Dinner and Dialogue event to talk about good design in a beautiful Georgian house in Dublin’s city centre, as part of the year of Irish Design.
– Moonfish Theatre’s Star of the Sea is fitting up again this week for its national tour, including a few days as part of the Dublin Theatre Festival.
– Thanks to grants from the Arts Council’s Theatre Artist Development Scheme I’m developing a pilot initiative with Mermaid Arts Centre called Gap Days for freelance theatre workers to take paid days to think, dream and plan for later this year, as well as preparing for year four of the Pan Pan International Mentorship programme.
In March this year I got to work with junk ensemble again for the first time sinceDrinking Dust. Another manky disused space transformed into something a little magical, if I do say so myself.
They were reprising Sometimes We Break, a performance they had originally made for the (much cleaner) Tate Britain in 2012. The original version had been designed by Jo Timmins, and made for family audiences – they asked me to take elements of her design and work with them to re-construct the piece in a (literally and figuratively) darker space. We had the use of two connected warehouses on Barrow Street in Dublin, and the performance was part of Mind Your Step, a walking tour-type season of Irish contemporary dance.
Some before and afters:
We had two days to clear the warehouses, install all technical and design elements, and to tech the 20 minute performance. Sarah Jane Shiels managed to light the place beautifully. But all thanks are due to the stalwart Mags Mulvey (our stage manager) and her team, who spent a full day moving all the disgusting junk from the two warehouses into one corner in a bid to make something aesthetically pleasing/not harmful.
Most of my work focused on the set up of five doll house in diorama-type environments:
Thanks to Noelia Ruiz and Siobhán O’Gorman for asking me to speak on a panel as part of this event – a day-long symposium on scenography in Trinity College Dublin. It really was a great day, and felt like there was a lot still to say by the end of it.
While I missed some of the papers, I did get to hear some great presentations by:
Rachel Hann on the terminology around scenography (I hope to be able to repost some of what she said soon – it was really useful to hear her own definitions around stage design / scenic design / scenography / set design)
Sarah-Jane Scaife, talking about her beautiful Beckett in the City series
Cathy Leeney and Elaine Sisson both presenting very interesting papers about the documentation of design
Aoife Monks talking about magic/mundane lives of costumes and props (who also came out with the great line that “theatre is just made out of stuff and work”)
Sodja Lotker, Director of the Prague Quadrennial, talking about their upcoming event in 2015
Abstracts of all these paper and more can be found here.